The seventh edition of Material Matters, organized by ek magazine, was successfully held on 16 June at the Banquet Hall of Megaron the Athens Concert Hall. Dedicated to the design and construction of architectural façades, Material Matters Vol. 7: Facades — Metal, Wood, Glass & Cladding brought together leading architectural practices to reflect on the façade as a technical, spatial, material and cultural interface.

The event was moderated by architects Ariadni Vozani, Professor at the National Technical University of Athens and Editor-in-Chief of ek magazine, and Stavros Martinos, member of the magazine’s editorial team. Invited speakers were asked to present two of their own projects and one work by another architect, through their own critical lens, within a ten-minute format.

The evening opened with Natassa Lianou and Ermis Chalvatzis of LC Architects, who presented the projects Orbit and Antenna Group at the level of detailed design, while pointing to the potential of glass-fibre reinforced concrete in contemporary façade design. Nikolas Travasaros of Divercity Architects then focused on the relationship between visibility and bodily movement, through an office building on Syngrou Avenue and the new Mitsis N’U Piraeus Port hotel, using the Institut du Monde Arabe by Ateliers Jean Nouvel as a reference.

Matilda Beraha of Arid offered a reflective exploration of the façade as boundary, presenting the Veil building in Kypseli and a shipping company headquarters on Alimou Avenue, while drawing parallels with related works in New York and Paris. Dimitra Katsota of Buerger Katsota Architects highlighted the façade as part of the public realm through the work of Alison and Peter Smithson, before bringing this line of thinking into the design of the new University of Nicosia facilities at Ellinikon and an office building nearing completion on Kifisias Avenue.

Anargyros Mougiakos of ISV Architects addressed the façade as a sculptural construction composed of successive standardized elements, drawing on examples from 1950s American modernism and two corresponding applications in specialized buildings in Athens. Fotini Gouveli and Niki Katsaragaki of A&S Architects brought the importance of the “fifth façade” to the fore, through an office building on Pireos Street and Education City in Doha, using COBE Architects’ The Silo in Copenhagen as their reference project.

Eraclis Papachristou of Eraclis Papachristou Architects discussed the challenges of designing tall buildings through two recent projects in Limassol, focusing on the importance of views — but also of a broader architectural vision — in relation to tactility and material presence. Ivy Nanopoulou and Eri Nikoloudi of TPA – Thymio Papayannis and Associates selected two projects separated by almost sixty years: the OSE Building on Karolou Street and the “Odysseas” Hellenic Maritime Heritage Park, currently under construction in Faliro Bay. Their presentation traced the continuity of the practice’s thinking through a creative reading of place, landscape and history, with Frank Gehry’s Fondation Louis Vuitton in Paris serving as their reference building.

Loukas Bobotis of Bobotis+Bobotis Architects presented his private residence in Athens and the One Floreasca complex in Bucharest, taking as a point of reference the renovation of the Palazzo della Civiltà Italiana in Rome.

The evening concluded with the keynote lecture by Doriana Mandrelli Fuksas and Massimiliano Fuksas, who presented an impressive panorama of their work, ranging from interior design to large-scale building complexes and public spaces. The participation of the internationally acclaimed Studio Fuksas gave this year’s edition particular weight, opening a direct dialogue with the Greek architectural community and confirming the high quality of the presentations that define the Material Matters series.

The event was held under the auspices of the Hellenic-Italian Chamber of Commerce of Athens, the Hellenic-Italian Chamber of Commerce of Thessaloniki, and the Hellenic Institute of Architecture. Material Matters Vol. 7 was honoured by the presence of the Ambassador of Italy to Greece, H.E. Paolo Cuculi.

Platinum Sponsor: Elval Colour
Gold Sponsor: F|Nous
Silver Sponsor: Voutsadakis
Bronze Sponsor: E-dreams
Stage Design Sponsor: Rouchotas
Cocktail Event Sponsor: Dipo-Interwood
Sponsors: AkzoNobel, Alumil, Etem, Europa, Ilicon, Mipeco, Nolte Kitchens, VasGlass, Vitex
Supporters: Anegersi, Diodos, Domiki Papanikolaou, Gratalum, Koligas Wood Essence, Knauf, Saint-Gobain Glass, Textures & Tiles
Hospitality Sponsors: Electra Rhythm Athens, Inn Athens
Wine Sponsor: Zacharias Winery

 

 

Consolidating functions

The Exeter Road Pavilion is an adaptive reuse of a modest Victorian garden outbuilding in northwest London, reimagined as a hybrid domestic and social space for an art collector and amateur DJ. Conceived as both a storage environment and a setting for leisure, the project consolidates diverse functions – archiving, display, gathering, and recreation – within a unified architectural gesture that extends from interior to landscape.

 

Design Philosophy

At the core of the proposal lies a continuous cabinet, operating as a contemporary cabinet of curiosities. Beginning within the refurbished structure and extending outward into the garden, this linear element accommodates an array of uses: art storage and display, shelving for books and vinyl records, a DJ station, a television, and personal artifacts. As it moves outdoors, it integrates recreational functions, including a ping-pong table, weights, and garden games, maintaining spatial continuity across interior and exterior domains.

Encased in a perforated stainless-steel screen, the cabinet oscillates between transparency and opacity. Its surface reflects and filters light, producing shifting visual conditions throughout the day. This duality allows the cabinet to simultaneously reveal and conceal its contents, reinforcing its role as both container and spatial mediator.

 

 

Structural Logic

The cabinet operates not only as storage but also as a structural system, supporting the canopy that extends over the outdoor space. The relationship between these elements introduces a deliberate tension, inspired by the precarious compositions of Fischli & Weiss. Rather than adhering to conventional structural logic, the design removes an expected column, redistributing forces through a counterbalancing system.

This equilibrium is achieved through a precisely milled marble mass embedded within a galvanized steel I-beam, paired with a tension rod anchored to a concealed concrete block below ground. The resulting configuration establishes a legible yet unconventional structural narrative, where balance is perceived as dynamic and contingent rather than fixed.

 

 

Materials & Sustainability

The canopy itself is composed of layered materials – marble, steel, and polycarbonate – articulated in a clear tectonic hierarchy. Stainless steel cladding on the cabinet mirrors the surrounding vegetation, while translucent roofing elements diffuse light into the space below. This material palette oscillates between raw and refined, grounding the project in both industrial precision and environmental responsiveness.

Through reflection, translucency, and spatial extension, the pavilion dissolves the boundary between interior and exterior. It becomes an instrument for observing seasonal and daily changes, where light, vegetation, and built form interact continuously. The project ultimately establishes a condition in which structure, storage, and landscape remain in constant and perceptible dialogue.

 

Cohesive framework

Conceived as a new architectural landmark for South Tyrol, the Museum Depot responds to the need for a centralized facility dedicated to the protection, conservation, and public accessibility of the region’s cultural assets. The project rethinks the fragmented system of existing depots, consolidating diverse collections into a unified structure that accommodates over one million objects, ranging from artworks and museum holdings to archaeological finds and audiovisual archives.

 

Programmatic Integration

The proposal addresses a dual objective: to operate as a highly efficient preservation facility while simultaneously engaging with the cultural and institutional demands of the region. Rather than functioning as a series of isolated storage units, the building establishes a cohesive framework that integrates research, conservation, and exhibition. Offices, laboratories, workshops, storage areas, and public galleries coexist within a single architectural system, fostering collaboration and exchange between institutions.

The spatial organization prioritizes relationships and workflows, structuring the program around a central courtyard that introduces natural light into the working environments while offering visual and physical access to a landscaped outdoor space. This arrangement enhances both functionality and user experience, positioning the depot as an active cultural infrastructure rather than a purely technical repository.

 

 

 

Spatial Strategy & Sustainability

A key aspect of the design lies in the careful distribution of functions across different levels. Storage and exhibition spaces are located underground, ensuring stable climatic conditions essential for the long-term preservation of sensitive artifacts. Above ground, administrative and research functions benefit from daylight and visual permeability, creating a balanced working environment.

Circulation is conceived as a continuous and legible system, connecting the various programmatic elements while reinforcing their interdependence. The interior is defined by clear spatial sequences and controlled transitions, allowing both staff and visitors to navigate seamlessly through the building.

 

Design Philosophy

The architectural form draws from the vernacular typologies of South Tyrol’s alpine and valley regions, translating traditional elements into a contemporary language. A raised, pitched roof defines the building’s silhouette, while the street-facing entrance opens into a transparent and welcoming foyer.

Partially embedded into the ground, the structure reduces its visual impact and establishes a sensitive relationship with the surrounding landscape. The green roof extends the natural terrain, reinforcing continuity between the built form and its environment. This integration is further emphasized by the material palette and the modulation of volumes, which echo local architectural references while maintaining a distinct contemporary identity.

The main entrance connects directly to the urban fabric and adjacent plaza, while additional access points through underground parking ensure functional efficiency. At the heart of the interior, a sculptural spiral staircase acts as both a spatial and symbolic element, linking the exhibition spaces below with the public and administrative areas above.

Upon completion, the Museum Depot will not only provide optimal conservation conditions for previously dispersed collections but will also reposition them as accessible and active components of the region’s cultural landscape, reinforcing their value within both local and broader contexts.

 

Spatial mediator

Set within the tall perimeter walls of a disused factory, the project unfolds as a carefully orchestrated intervention that redefines the relationship between domestic life, industrial memory, and landscape. Rather than demolishing the existing structure, the proposal preserves its masonry enclosure, transforming constraints into spatial opportunities. Hidden behind a modest entrance, the residence reveals itself gradually, structured around a central open-air garden that becomes the core of the architectural composition.

 

Renovation Strategy

Facing a public square in Lendinara, the project presents a restrained and almost opaque exterior. A tall wall, marked by an irregular profile, recalls the layered history of industrial constructions in the area. The only visible opening – a small iron door – conceals the spatial richness beyond. Once inside, the perception shifts dramatically, revealing a lush, enclosed garden defined by high walls and climbing vegetation.

Located in a context where traces of past industrial activity coexist with residential fabric and green spaces, the project engages directly with its surroundings. The proximity to the public park and the historic garden of Ca’ Dolfin-Marchiori informs the architectural strategy, introducing landscape as an essential component of the dwelling experience.

 

 

Landscape Design

At the heart of the project lies the garden, conceived as an open-air room that organizes the entire domestic program. Created through the partial demolition of the factory roof and the repositioning of the new volume, this green courtyard introduces light, air, and visual continuity into an otherwise introverted structure.

The house develops as a compact, two-level volume inserted within the preserved perimeter walls. Its spatial configuration establishes a continuous dialogue with the garden, most notably through a double-height living space that opens fully onto it via a large, glazed façade. Framed by a timber lattice structure, this transparent surface mediates between interior and exterior, reinforcing the vertical rhythm of the composition and extending into the roof geometry.

 

 

Design Philosophy

The project is defined by a deliberate interplay between openness and enclosure, visibility and concealment. From the street, the house remains entirely hidden, while internally it unfolds through carefully framed views toward greenery. This sequence of spatial transitions constructs a controlled yet dynamic experience of movement and perception.

Materially and structurally, the intervention balances timber, steel, and glass within the existing masonry framework. The new construction echoes the industrial profile of the former building, while introducing a refined architectural language that emphasizes lightness and spatial continuity.

Guided by the notion of landscape as an architectural device, the design moves beyond nostalgic references to industrial heritage. Instead, it repositions the garden as a fundamental condition of contemporary dwelling – not as a decorative element, but as a necessary spatial and environmental mediator that defines the identity of the house.

Reflection of the City

The new National Gallery building, now incorporating a major expansion and museological upgrade of its exhibition spaces, constitutes an important landmark in the contemporary urban landscape of Athens: to the pre-existing building of 9,720 m², which is listed as a modern monument, an additional 11,040 m² was added, more than doubling the functional spaces to a total of 20,760 m².

 

Design Philosophy

Through the new proposal, additions were implemented between the two units of the historic building (“Building A” facing Vasilissis Sofias Avenue and “Building B” facing Michalakopoulou Street), at the point where they are connected by a bridge above the location of the Ilissos riverbed, while underground spaces (“Building C”) were also opened where the groundwater level permits. The interior of the complex was completely redesigned.

The new building volumes, characterized by large glass surfaces, clearly stand apart from the architecture of the preserved building, with its exposed reinforced concrete structure and white marble infill elements. On the Michalakopoulou Street side, the new National Gallery gained an additional floor, while in the void between the two old wings an additional depth of three levels was added.

In the garden created south of the historic main entrance, the Gallery acquires an independent entrance, while the configuration of the surrounding landscape recalls the presence of the Ilissos river, through the creation of a water channel and the extension of greenery. The museum also features visitor circulation ramps with views toward the city skyline, elevators and staircases, full accessibility for people with disabilities, and modern security systems.

 

 

Spatial Organization

The entrance to the building complex takes place through a multifunctional space of 910 m², where in addition to control, information and visitor services, multiple digital information systems provide access to content about the building, the collections and the activities of the Gallery.

The main Gallery shop is also located there, equipped with versatile display cases. From the reception area visitors can move either towards the exhibition spaces of the permanent collections or towards the temporary exhibition areas, as well as to the 350-seat amphitheater or the café.

The interior architecture and the museographic study shaped the spaces accessible along the visitor routes. The museological core of the National Gallery consists of the permanent exhibition halls on the first and second floors of Building B, where the permanent collection of Greek painting and printmaking of the 19th and 20th centuries is presented, the permanent exhibition hall on the second basement level of Building C, where the permanent collection of Western European painting and printmaking is displayed, as well as the halls for rotating exhibitions on the third floor of Building B, where the continuously expanding collections of Contemporary Art (20th and 21st centuries) are presented through a rotating program.

In the permanent exhibition halls, spatial organization is mainly achieved through the placement of fixed exhibition panels that extend across the full height of the space, contributing to the narrative continuity of the exhibits. Through the use of these panels, the path of the gaze is designed through the revelation and concealment of spatial depth, while directions and visual perspectives are created, encouraging multiple associations and readings of the exhibits and forming central configurations as thematic focal points.

 

 

Museography and Exhibition Strategy

In these halls, suspended ceilings with general and accent lighting have been installed, incorporating a translucent elastic sound-absorbing membrane, while the exhibition walls and panels with a final fiber gypsum board surface allow for the hanging of artworks.

The exhibition panels are supported by the floor and the structure of the translucent ceiling, allowing cable routing inside them from the ceiling wiring system. Similarly, cable routes along the perimeter walls are placed at their upper termination. The exhibition space, beyond the exhibition surfaces, is equipped with display cases that enrich the exhibited material with drawings, watercolors and prints, while the artwork security systems allow the identification of each work individually and the immediate monitoring of any change in its condition.

In the halls for rotating exhibitions, in order to address special requirements, a suspended ceiling system was implemented that ensures uniform general lighting, isotropic distribution of accent lighting for the exhibits, as well as the possibility of supporting exhibition panels and hanging exhibits or projection systems. In addition to the permanent collection exhibition halls, the second basement of Building C hosts the temporary exhibition hall, where the suspended ceiling–lighting–display system used in the rotating exhibitions of the permanent collection has been extended in order to provide a suitable supporting background.

At the junctions between exhibition halls and the horizontal and vertical circulation areas of the building, circulation, signage and information nodes are defined and marked by wood cladding on the walls and ceilings. The visitor route is structured as a sequence of exhibition halls and circulation nodes where visitors can orient themselves and redesign their route, obtain digital information about the content of each exhibition hall and view additional exhibition material related to the content of the halls in specially designed display cases.

Overall, the extensions and reconstructions include new exhibition spaces of 2,230 m², modern art storage facilities of 1,645 m² and a space dedicated to educational programs. The new museum is equipped with state-of-the-art conservation laboratories, administrative offices, as well as a library that develops across two floors. It also includes two café-restaurants, with the second, located on the top level of the building, offering panoramic views toward the Acropolis, Mount Lycabettus and the Saronic Gulf.

In the new building, 1,000 works can be displayed as part of the permanent collection, whereas previously the old building could accommodate no more than 400 works. The new temporary exhibition hall approaches 2,000 m², while the storage spaces can house up to 10,000 artworks.

 

Layered continuity

Located in the heart of Jingdezhen’s Imperial Kiln Historic District, the regeneration of a former porcelain factory complex proposes a contemporary strategy for historic preservation through what the architects describe as a “Plugin Architecture” approach. Rather than replacing the existing structures, the intervention introduces new architectural insertions within and around the historic fabric, revitalizing the site while maintaining its cultural and spatial continuity. Jingdezhen – renowned as China’s “Porcelain Capital” – has been associated with porcelain production for more than a millennium, making the careful integration of new architectural elements within this context particularly significant.

 

Design Philosophy

The core concept of the project is based on a system of architectural “plugins”— new spatial modules inserted into existing buildings to enhance functionality while preserving their historic character. These contemporary interventions upgrade the aging workshops and support structures to accommodate new programs such as offices, meeting rooms and guest accommodations.

Rather than imitating historical forms, the inserted modules are intentionally expressed as modern architectural elements. Their clear visual distinction establishes a dialogue between old and new, reinforcing the layered history of the site while enabling the complex to function as a contemporary cultural destination. Circulation elements such as staircases and walkways are introduced both inside and outside the structures, improving connectivity and enabling the adaptive reuse of previously fragmented spaces.

 

 

Glass Pavilion & Lighting

At the center of the site stands a three-story glass pavilion that functions as a new architectural landmark within the historic district. Designed as a transparent volume topped with a traditional double-pitched roof clad in clay tiles, the structure houses exhibition spaces and a café while acting as a focal point for the main public square.

The contrast between the transparent glass enclosure and the surrounding masonry buildings establishes a clear architectural dialogue between contemporary design and historic context. The roof appears to float above the glazed structure, reinforcing the sense of openness and creating a spatial extension of the public square into the building interior. From a distance, the pitched roof emerges among the surrounding tiled rooftops, subtly referencing the traditional architectural language of Jingdezhen.

Carefully integrated lighting design plays a crucial role in reinforcing the pavilion’s architectural presence, particularly after sunset. Warm recessed luminaires embedded within the timber soffit of the roof evenly illuminate the glass envelope, transforming the pavilion into a softly glowing lantern within the historic courtyard. Inside, discreet linear and point lighting accentuate the brick core and the vivid orange circulation elements, highlighting the layered spatial composition while maintaining a restrained and atmospheric ambiance. The transparency of the façade allows interior light to spill into the surrounding public square, strengthening the visual connection between interior activity and the historic urban fabric.

 

 

Materials & Urban Circulation

The project reinforces the relationship between interior and exterior space through the careful treatment of the courtyard landscape. Brick paving extends from the public square directly into the interior of the glass building, dissolving the boundary between inside and outside.

Within the courtyard, the paving transforms into stepped surfaces that accommodate changes in elevation while simultaneously functioning as informal seating areas. On the opposite side of the square, a series of barrel-vaulted brick rooms form the building’s base, anchoring the new structure within the historical material language of the site.

To improve accessibility and spatial continuity across the complex, one of the existing buildings was rotated, merging two separate courtyards into a single shared public space. This reconfiguration allows visitors to move fluidly between the public square, the glass pavilion and the surrounding workshops, effectively transforming the former industrial compound into a cohesive cultural environment.

Located adjacent to Chimney Square, the project sits within a dense historical landscape that includes the Imperial Kiln Museum and the archaeological remains of the Imperial Porcelain Factory to the west, while the historic Xu Family Kiln – the oldest and most complete preserved wood-fired kiln site in Jingdezhen – lies to the north. Within this historically layered setting, the project establishes a careful balance between preservation and contemporary intervention, transforming the former industrial site into a vibrant public destination that celebrates both the legacy and the future of porcelain culture.

 

Visual permeability

A compact hair studio of just 28m2 has been transformed into a spatial experience defined by clarity, warmth, and highly intentional material choices. Located in the commercial heart of Melissia, the project explores how light, color, and structure can work in concert to elevate a small-scale program into an expressive and memorable interior.

 

Design Philosophy

The design approach is defined by precision and visual permeability. Fluted glass panels and glass blocks – used both on the façade and within interior partitions – are employed to gently filter natural light, creating a softly illuminated environment that feels more expansive than its physical footprint. This controlled transparency enhances depth and atmosphere while ensuring privacy where required.

The façade is articulated as a striking composition of bold red steel framing, curved profiles, and translucent glass blocks, establishing a distinct and recognizable identity. A pivoting window allows the threshold to remain fluid and inviting, while an integrated outdoor bench extends the interior experience toward the street, fostering a dialogue between the studio and its urban context and offering a place for brief pauses by clients or passersby.

 

 

Functional Layout

The spatial layout is organized with clarity and efficiency. A primary wall accommodates a sequence of full-height mirrors and black styling chairs, positioned to maximize light reflection and maintain unobstructed circulation. Storage is seamlessly integrated through tall cabinetry and discreet product shelving, preserving a clean and orderly workspace. Throughout the interior, red accents are introduced as intentional focal points – from equipment details to the warm glow of lighting in the side room – echoing the exterior language and infusing vibrancy into the muted interior setting.

 

 

Material Palette

Within the interior, the material palette reinforces a sense of quiet confidence. Surfaces are finished in soft grey tones, forming a calm and cohesive envelope. An exposed cement ceiling introduces a raw, tactile quality that contrasts with the smoothness of the walls and mirrors, grounding the space while emphasizing its vertical dimension. This restrained backdrop is designed to support, rather than overpower, the daily activity of the studio.

Through the careful orchestration of materiality, structure, and light, a space is formed in which each element remains in constant dialogue with the others. Minimalism is balanced with character, precision with warmth, and efficiency with atmosphere. The result is a thoughtful interior that demonstrates how even the most compact spaces can be imbued with depth, identity, and a sense of calm refinement.

 

 

Playful light

The project concerned the renovation of a 70m² second-floor apartment near Lycabettus Hill. The design follows an open-plan layout, allowing natural light to penetrate deeply into the interior. To organize the unified space, emphasis was placed on transitional areas through the use of vibrant colors and textures. The kitchen was treated as an integrated piece of built-in furniture, while metal partitions and doors were designed to accommodate different living scenarios. Distinctive features of the 1970s apartment were preserved and complemented by more vibrant and industrial elements, resulting in a layered collage of materials.

 

Renovation Strategy

The primary intervention was the relocation of the kitchen in order to optimize the apartment’s spatial organization. In its original position, the kitchen obstructed the entrance, lacked visual and functional connection with the rest of the apartment, and suffered from insufficient light and limited size. Its relocation enabled the creation of an elongated entrance hallway and a generous, multifunctional storage element incorporating an entrance bench, wardrobe, washing machine, and general storage. The kitchen was conceived as a functional object rather than a separate room – integrated into the open plan and discreetly supporting everyday activities. It is directly connected to the dining area and positioned opposite the balcony door to benefit from improved natural light.

 

 

Functional Layout

The apartment is organized into three distinct zones. The first zone, comprising transitional spaces such as the hallway and storage areas, functions as a chromatic frame for the more restrained main spaces. A key intervention involved the removal of the wall separating the bedroom from the living area, revealing the building’s structural elements, including the central column and beams. In place of the original partition, a four-leaf metal door with fluted glass was introduced, referencing traditional wooden sliding partitions commonly found in Athenian apartments. The ribbed glass enhances the 1970s aesthetic while allowing light to diffuse throughout the space and providing privacy when needed.

 

 

Material Palette

The original mosaic floor, uncovered but heavily damaged by previous interventions, was replaced with turquoise tesserae tiles that enhance light reflection in these intermediate and darker areas. Birch veneer, selected for its expressive grain and warm yellow tones, was used for the woodwork, while the entrance threshold is defined by a burgundy accent.

The second zone includes the primary living spaces – living room, dining area, and bedroom – where the existing oak parquet flooring was repaired and retained. Other elements were designed to contrast with and emphasize the warmth of the wood, incorporating industrial finishes such as exposed concrete, metal elements (including sliding doors and shelving), glass, and chrome glossy details in lighting fixtures and hardware.

The third zone, encompassing the kitchen and bathroom, features Dionysos marble as the dominant material, a reference to materials already present in the apartment. In the kitchen, the marble was applied to both countertop and backsplash, creating vivid reflections that contrast with the matte off-white lacquered cabinetry. In the bathroom, 40×40 cm marble tiles were used to introduce a more playful interpretation of this timeless material.

 

Structural consolidation

The project involves the renovation and extension of a farmhouse set within a courtyard on the crest of the hills in the Piedmont area of the Reggio Emilia Apennines. The original stone building, dating back to the early 1900s, had undergone several interventions over time, including structural consolidation works that introduced reinforced concrete terraces on the valley-facing sides, as well as more recent upgrades such as the refurbishment of the roof and the addition of a concrete-and-wood portico on the eastern elevation.

 

Renovation Strategy

The intervention was driven by two main objectives: to expand the ground floor – where the existing living and bedroom spaces were insufficient – and to redesign the extensive outdoor areas of the property. The first-floor sleeping quarters were left untouched, as they were already adequate in terms of size and functionality.

The reconfiguration of the living spaces began with the transformation of the existing sloped portico, which was converted into a new volume accommodating a living and dining area, along with a wellness extension connected to the ground-floor bedroom. The original wooden and tiled roof was removed, while the concrete pillars were retained. A new metal structure was introduced to support a flat roof slab, reusing the original wooden beams of the portico.

 

 

Layout & Materials

This new volume was enclosed with continuous glazing, articulated by staggered aluminum pilasters with a Corten finish, while the original stone wall was deliberately left exposed within the interior. The former living area was repurposed as a kitchen and connected to the new living space through a large sheet-metal-clad portal, created by reworking the existing wall openings. A similar intervention was carried out in the bedroom, where a new opening in the stone wall leads directly to the wellness area, which includes a sauna.

 

 

Landscape & Façade Design

Externally, the existing terraces were redefined through the introduction of an infinity pool projecting toward the ridge, with a basement level beneath it housing technical systems and storage spaces. The terracing system was further expanded through the use of reinforced and gabion-retained earthworks, creating new landscaped areas designed for outdoor use.

The areas in front of the building were cleared of walls and fences to enable the creation of a new main entrance to the house. Access is no longer aligned with the center of the portico but instead positioned along the short side of the extension, allowing for a reorganization of vehicular access from the main road, now separated from the rest of the courtyard.

The new main façade is marked by an entrance structure consisting of a metal pergola, partially covering the main doorway and designed to support climbing vegetation, reinforcing the dialogue between architecture and landscape.

 

Domestic origin

The new Daras Dental clinic in Piraeus challenges the conventions of a typical clinical environment, redefining it as a place of healing rather than discomfort. Bright surfaces, warm wooden tones, semi-transparent materials, and domestic details come together to soothe patients’ anxiety and create a more welcoming atmosphere.

 

Spatial Organization

Housed in a 1960s apartment building near the port, the 110 m² residence is transformed into a multi-dental clinic for three dentists and their staff. The original living–dining area is removed and replaced by a timber-and-glass module made of channel glass, accommodating the reception, office, CT scan room, waiting area, and the main treatment room. Two additional treatment rooms, the restrooms, and staff areas are organized within the apartment’s existing partitions.

Materials & Construction

The clinic’s identity emerges from the combination of wood and glass, blending the typologies of clinic and home. Rather than concealing the conversion, the design embraces the space’s domestic origins, fostering a sense of comfort. Contemporary details subtly reference the modernism of the 1960s – the decade in which the building was constructed.

 

 

Form & Lighting Design

Piraeus itself – the busiest passenger port in Europe and a gateway to the Aegean Sea – also served as a source of inspiration. Luminous glazed surfaces evoke the depths of the sea, while circular openings and finely crafted joinery recall the craftsmanship of yachts. A discreet mint-green floor bridges the clinical and nautical references. Above all, light animates the space: luminous ceilings provide a clean, fresh counterpoint to the more domestic service areas.

 

“Soul-specific” design

“An interior design project, even for a single apartment, carries with it the same complexity and responsibility as larger projects: it means interpreting desires, memories, and aspirations to transform them into space. It’s never about applying a pre-established model, but about building, step by step, a unique identity capable of generating quality of life. Each time, the result is different, surprising, and, to use a term from contemporary art, truly ‘soul-specific’.”

Pier Currà, Founder Pier Currà Architettura

 

Design Philosophy

Every corner of this apartment in the historic center of Forlì tells a story of creativity, color, and memory. The renovation transforms a 1960s home into a vibrant living space where a vintage soul meets contemporary pop accents, resulting in interiors that are both surprising and expressive.

 

 

Functional Layout

The double-height living room, flooded with natural light from a large window, forms the heart of the home. Morning light bounces off surfaces and details, enhancing the bold chromatic contrasts. The space is shaped by custom-made furniture that becomes architectural in itself: the striking orange staircase doubles as a sculptural bookcase, while the bespoke storage unit at the entrance acts as a visual and functional filter between the lowered hallway and the living area.

The kitchen celebrates color and craftsmanship. Entirely custom-designed, it is defined by deep blue cabinetry paired with a stainless-steel worktop. The flooring pays explicit homage to the 1970s through optical-patterned tiles, while a glass-brick wall filters light and introduces rhythmic geometric textures.

 

 

Materials & Furnishings

Throughout the apartment, interior design oscillates between memory and innovation. Original elements, such as the large window and the ceiling clad in exotic wood slats, have been carefully restored and enhanced, while bold color choices and bespoke furnishings create a cohesive narrative across the spaces. Pastel-toned bathrooms with cement tiles and red taps, a master bedroom distinguished by a custom burgundy wardrobe and white paneling, and an upper floor featuring a study that overlooks the living room and opens onto a balcony with a flower box, all contribute to a layered and imaginative domestic landscape. The result is a home that embraces its original identity while reinterpreting it with energy, personality, and lightness.

 

Organic aesthetic

The restaurant is located in the picturesque neighborhood of Ano Petralona, in the heart of Athens. Although close to the city’s bustling center, the project exudes an introverted charm, reflecting the warm atmosphere of its surroundings. The strong materiality, combined with a dark color palette, is carefully balanced with the organic interior, creating a welcoming and intimate space.

 

Functional layout

A key element of the design is the open kitchen at the rear of the restaurant, visible from every point within the interior. Against this backdrop, two dining areas are arranged on different levels, organized around a centrally positioned, curved open bar. Guests are able to observe the activity in the kitchen while experiencing the various design details and the interplay of materials across the surfaces.

The bar at the front of the restaurant serves as an inviting point of arrival before the dining areas. With three distinct seating options, guests may choose to sit along the central bar, directly facing the lively open kitchen, or in a cozy corner of the second dining room, which offers greater privacy and seclusion.

Custom-made elements

To enhance the distinct experience of each individual zone and to minimize distractions from external stimuli, semi-transparent curtains are used along the glazed façade, preventing direct visual contact with the busy street. The connection to the surroundings is achieved through an operable roof, which allows views of the sky and introduces a sense of openness and freshness into the dining area.

 

 

Materials & furnishings

The design concept focuses on texture, emphasizing the use of natural materials to infuse the space with authenticity. Vertical surfaces are clad in custom-made terracotta tiles, reinforcing the organic character, while the floors and the central bar feature rough-textured tiles. The main dining area is finished with custom-applied terrazzo, adding a playful note to the otherwise earthy, matte environment through its subtle reflections. Throughout the project, emphasis is placed on craftsmanship and handmade elements at every scale, from flooring to ceramic vases.

The lighting fixtures – wooden wall sconces and suspended ceramic pendants – as well as the ceramic decorative elements, were custom-designed and crafted to achieve the desired aesthetic. Upholstery fabrics, ranging from leather and suede to linen in a variety of tones, were carefully selected to enhance the natural and harmonious atmosphere of the space.

 

Dessert arcade

The central objective for the ground floor of a 1960s building in the Metropolis area was the creation of a “Sweet Arcade”: a multi-layered venue that would need to accommodate a production laboratory, a retail area, and a dessert restaurant.

 

Cultural Context

The concept that emerged during the design process drew inspiration from the Athenian arcade. This archetypal form of a covered yet freely accessible space seamlessly connects commerce, social gathering, and leisure. The first arcade built on Athenian soil, at Kapnikarea Square, was constructed in 1883 to designs by Ernst Ziller, within the four-storey neoclassical Melas Mansion, featuring a “glass-roofed passage” modeled after the Parisian galeries made of metal and glass.

Among the most vital nodes of commercial life, arcades were primarily thematic, functioning as hubs for specific activities or types of retail. Initially conceived as spaces for the concentration of goods, they ultimately evolved to “serve the pursuit of pleasure in the city, through strolling and other forms of entertainment.”

 

 

Design Philosophy

Inspired by the commercial arcade and motivated by its inclusive vibrancy, the pastry shop is designed primarily using metal and glass. It is articulated as a sequence of three distinct spatial units (shops), each with its own façade (shopfront) facing an elongated, central shared space -the arcade.

The olive-green arcade, measuring 9×3m and featuring the original mosaic flooring, forms along its entire outer edge the main, twin entrance. A slender, elongated structure placed along the central axis organizes movement, provides a functional counter surface, and supports suspended, illuminated planting that enhances the sense of a public, open space. Flanking the entrance and extending to the back, metal and textured glass define the shopfronts of the three units as well as the passage leading to the restrooms.

 

 

Spatial Organization & Materials

The retail shop on the left and the restaurant on the right are located behind two facing metal arches that act as thresholds to the respective spaces. In the first, a brightly lit central table of white marble displays the products, adjacent to a luminous wall of glass blocks that filters the constant activity of the laboratory beyond. In the second, warm orange tiles, wooden tables, and subdued lighting create an inviting dining room for à la carte desserts.

At the rear, behind a retractable partition, lies the production laboratory. It comes alive in the afternoon, when its lights are turned on and its window opens, revealing the chef -now visible to the public- preparing the sculptural plates, the true protagonists of the Sweet Arcade.

 

Organic forms

The project’s location -along one of Limassol’s most important commercial corridors, near a major junction- set from the outset the ambition to create a landmark building for the Mesa Geitonia area.

 

Design Philosophy

This strategic position, coupled with the elongated geometry of the plot, informed the building’s distinctive massing from the very early design stages. To meet the project’s goal, the design adopts a linear, organically shaped volume that unfolds along the avenue, both asserting the presence of the complex and preserving the continuous flow and pulse of the commercial axis.

 

 

Functional Organization

The building is structured across five levels. The ground floor accommodates retail units, reflecting the commercial character of the street, while the four upper floors house office spaces that open toward the narrow façades through covered verandas. Although the primary pedestrian entry is located on Spyrou Kyprianou Avenue, the building also incorporates a two-level underground parking garage accessed via the internal road running parallel to the avenue. This underground structure provides all required parking spaces, mechanical rooms, and storage areas.

 

 

Architectural Language

The architectural expression merges a futuristic, dynamic aesthetic with fluid, organic forms. The façades alternate between metal panels and expansive glazing to maximize natural light. Cantilevers and projecting architectural elements reinforce the building’s horizontal character, while simultaneously functioning as shading devices that regulate solar exposure, enhance daylight performance, and reduce dependence on mechanical cooling.

On the narrow elevations, the shifting balance between interior space and covered verandas on each level creates a vertical, volumetric rhythm. This generates a parametric, organic pattern that imbues the building with a distinctive sense of movement, resulting in striking perspectives and visually compelling, theatrical façades.

 

Seaside hospitality

Overlooking the unspoiled beach of Agia Paraskevi, the project integrates harmoniously into the emerald waters, rugged landscapes, and unique flora of the area. Emerging from low vegetation, shaped rocks, and natural sand dunes, it offers a serene retreat in this untouched bay.

 

Design Philosophy

The design approach is based on the harmonious union of aesthetics and functionality, with respect for the natural environment and the character of the place. Each space has been carefully designed to provide comfort, flexibility, and a natural flow between the living area, kitchen, and bedrooms, enhancing the sense of freedom and tranquility. The design prioritizes the guest experience, creating conditions that allow both social interaction and privacy depending on individual needs. Spacious living areas, open kitchens, and well-organized bedrooms ensure fluidity and adaptability.

 

Custom Elements

Large glass surfaces take advantage of the views towards the Aegean, allowing natural light to flood the interiors and creating a strong sense of continuity between inside and out. Plants, natural decorative elements, and color palettes inspired by sand, rock, and wood strengthen the connection with the landscape.

 

Materials & Lighting

Materials such as exposed concrete, local stone, and warm wood combine with earthy tones and subtle textures, while a crafted patina adds depth and a sense of handmade detail. Lighting has been meticulously designed: concealed fixtures and ambient lamps create a warm, understated atmosphere that enhances the materials and textures of the space.

Every element of Cavo Ilya Villas reflects the philosophy of creating a place where serenity, elegance, and functionality coexist harmoniously, offering guests a distinctive experience of coastal living.

 

Colorful route

The Happy Tooth pediatric dental clinic occupies a 230 m² space on the third floor of an office building in Voula.

 

Design Philosophy

The central design idea was to create a welcoming and playful environment that reduces children’s anxiety, while at the same time conveying professionalism and functionality for the medical staff.

 

 

Spatial Organization

The layout was organized around a central corridor that connects the reception, waiting areas, and examination rooms. Spaces are arranged to allow direct access while clearly separating public and private functions. Treatment and examination rooms were designed with both children’s comfort and dentist ergonomics in mind. The use of colors and playful elements contributes to creating a positive experience for young visitors.

 

Material Palette

The choice of materials focused on durable and child-friendly surfaces. Wood, warm colors, and textures were combined with modern elements to create an environment that balances familiarity with hygiene and safety. The clinic takes advantage of its third-floor location to allow natural light to flood the interiors. The views toward the city create a sense of openness, while the interior layout reinforces feelings of calmness and protection.

 

Set within the heart of the Italian countryside, this spherical retreat appears like a gentle whisper from the future; one that honors the earth.

 

Conceptual Approach

Formed entirely from recycled metal, its warm, weathered surface captures the golden light of the Tuscan sun, blending seamlessly into the rocky, olive-dotted landscape. More than a structure, it is conceived as a soul with a shell.

The retreat is the outcome of an ongoing exploration into how artificial intelligence can assist architects and designers in transforming inner visions into tangible form. Emerging from a series of experimental processes, the design seeks to bridge imagination with spatial reality.

The concept originated from a visual intuition: a self-contained world, hidden in nature, circular like a cocoon, simultaneously grounded and futuristic. Gradually refined, this vision took shape as a metallic pod reflecting the warm tones of the earth and resting quietly within the Italian countryside.

Imagined as a compact living space, the retreat employs recycled metal and features circular openings that echo its soft geometry while framing views of olive trees and distant hills. Sustainable, poetic, and minimal, it offers a place for retreat, reflection, and reconnection. In its making, design converges with storytelling and intuition, suggesting new ways of thinking beyond traditional rendering.

 

 

Prompts & Software

Imagine prompt : a super futuristic and cozy spherical house covered in metal with gradient colour shades, located in the countryside of Italy. The house has two circular windows with bold black frames. The surrounding landscape is filled with herbs, stones, and natural elements under a sunny daylight. The pathway leading to the house is small, blending naturally with the environment. The overall design is avant-garde, creative, and unique, with a focus on natural harmony and a blend of modern architecture –ar 3:4 –s 750 –v6.1.

Created with Midjourney

 

Spiral volume

The project was conceived as a contemporary office building that redefines the character of the Bonfim district. The project establishes a new urban presence while maintaining dialogue with the surrounding context, balancing modernity with continuity.

 

Spatial Organization

The building’s volumes are arranged to generate permeability and interaction with the city. A sequence of spaces, including internal courtyards and terraces, creates visual continuity and fosters a sense of community among occupants. Connections to public streets and open areas reinforce accessibility and integration with the urban fabric.

The layout accommodates flexible office spaces designed for adaptability to different user requirements. Ground-floor areas open toward the public realm, inviting interaction between the building and the city. Circulation cores are strategically positioned to optimize efficiency while maintaining clarity of orientation.

 

 

Material Palette & Sustainability

The façade combines stone and glass surfaces, ensuring durability and transparency. Natural light penetrates deep into interior spaces, reducing reliance on artificial illumination. Sustainability measures guided the selection of construction systems and finishes, integrating both performance and aesthetic goals. The project achieved BREEAM EXCELLENT certification for design and a VERY GOOD rating for construction, highlighting its environmental responsibility.

 

 

Context Integration

Situated in Porto’s Bonfim area, the project contributes to the regeneration of a historic district. The design enhances the urban landscape by creating a landmark that anchors the area while respecting its scale and character. The office building stands as a catalyst for contemporary workplace culture and sustainable urban growth.

 

Undoing typologies

The project concerns the renovation and expansion of a dental clinic, aimed at accommodating a greater number of patients. The clinic’s original area was 60m², while the final surface now reaches 85m².

 

Design Philosophy

The main concept was to create a space that conveys cleanliness, while simultaneously breaking the mold of typical medical spaces, as medical advancement should now be in harmony with architecture. The clinic features a comfortable waiting area, the central element of which is an oak table that visually extends into the office space and transforms into a workstation for the doctor. Vertical wooden elements frame the waiting area, with the wooden screens standing out as their arrangement subtly guides patients towards the examination rooms.

 

 

Spatial Organization

The office is enclosed by glass, designed with custom delicate vertical lines that ensure privacy while allowing light beams to enter, giving the impression of a constantly transforming space. Directly next to the office is the entrance to Examination Room 2, which is also internally connected to Examination Room 1 via a sliding door. For Examination Room 1, which was the new addition, a construction of vertical slats extends up to the ceiling, with dimmable LED strips placed in between at varying heights. This way, the patient’s experience -typically oriented toward the ceiling- changes radically.

 

Material Palette

The materials and tones used throughout, such as gray tiling and white-painted walls, play the most important role, as they allow continuous light reflection, resulting in a timeless space that radiates cleanliness.

 

Environmental catalyst

The new passenger terminal of Kavkaz Airport is envisioned as more than a transport facility -it is designed as a symbolic gateway to the North Caucasus region. The architecture reflects the ambition to create a landmark that blends functionality with cultural and environmental sensitivity. Its form draws inspiration from the surrounding mountains, streams, and forests, translating these natural elements into a dynamic architectural language. The project embodies the idea of a modern infrastructure hub that honors both place and context.

 

Spatial Organization & Context

The terminal is organized around a central spine, ensuring clear circulation and intuitive navigation for passengers. Large open halls provide visual connections between the exterior landscape and the interior spaces, reinforcing the sense of place. The layout prioritizes efficiency while maintaining generous spatial qualities, integrating waiting areas, check-in counters, and circulation zones in a coherent flow. The orientation of the building maximizes natural daylight, creating an uplifting environment for travelers.

In parallel, the design seeks to integrate seamlessly with its broader context -geographical, cultural, and ecological. The architectural form resonates with the dramatic landscapes of the Caucasus, while green roofs and terraces enhance ecological value. The project supports the development of Arkhyz as a tourist hub, providing infrastructure that strengthens accessibility to the region. In doing so, the new terminal positions itself as a catalyst for sustainable regional development, balancing modern needs with environmental stewardship.

 

 

Design Philosophy

The functional program addresses the needs of both domestic and international passengers. Departures and arrivals are clearly separated, while shared amenities ensure smooth passenger experience. Retail and service areas are integrated into the circulation system, offering convenience without disrupting flow. Support areas for staff, security, and operations are discretely embedded into the structure, ensuring safety and efficiency. Flexibility is a key consideration, allowing the terminal to adapt to future growth in passenger numbers.

 

 

Material Palette

The material strategy combines modern construction technologies with references to local traditions. Glazed façades provide transparency and lightness, while natural stone and timber finishes establish a connection with the regional landscape. Green roofs and planted terraces further reinforce the dialogue between architecture and environment. The use of sustainable materials and energy-efficient systems is central to the project’s environmental performance.

 

Future vision

The tower’s design is a perfect example of modern architectural innovation, showcasing a harmonious blend of aesthetics, functionality, and environmental consciousness. This distinctive form is visually captivating and structurally impressive, representing a leap in engineering and design principles.

 

Design Morphology

The center of the structure is hollow, forming an open space that contrasts with the solid outer shell. This void enhances aesthetic appeal and allows for natural ventilation, reducing the building’s energy footprint. It also symbolizes openness to the sky, suggesting infinite possibilities and freedom.

The project embodies futuristic design inspired by water and wind, with a fluid and organic appearance. Its verticality conveys aspiration and progress, while its integration with greenery and water reflects a sustainable urban vision. It stands as both a landmark and a statement of harmony between modern architecture and the environment.

 

 

Functional Layout

The tower is surrounded by an urban landscape with trees, plants, and water features. The reflective water complements the smooth curves of the tower and doubles its visual impact. The integration of green spaces and water elements balances urban development with environmental sustainability, creating harmony between architecture and nature.

 

 

Material Palette

The outer shell is predominantly covered with reflective glass panels, giving the building a shiny appearance that mirrors its surroundings -cityscape, sky, and sunset. The reflective glass emphasizes natural light, sustainability, and energy efficiency. Steel structures and smooth, flowing lines align with futuristic design principles.

 

Boundary as passage

“…Could it be that what conceals the forms is a kind of blurriness? And that it conceals them because it erases the contrast between light and shadow.”Ludwig Wittgenstein, Remarks on Colour, trans. P. Christodoulidis, Athens: G.A. Pneumatikou, 1987, p. 41.

Design Philosophy

The solidity of a boundary -a wall- and the passage from one space to another through a door is intentionally challenged. The boundary becomes simultaneously a threshold. It is lived time -the inhabitant’s experience- that activates and gives meaning to space. The distinction between spatial qualities dissolves. The curtain’s shifting positions introduce a nuanced complexity, forming a space of interaction, where relationships between adjoining areas unfold through the presence and movement of the inhabitants.

 

 

Functional Organization

The unexpected placement of the shower at the apartment’s entrance is offset by the use of semi-transparent glass blocks, a colored door, and a fluid, curved geometry. This boundary not only defines but also guides bodily movement through the space, as light diffuses into and out of adjacent rooms, subtly shaping spatial perception and flow.

 

 

Materiality & Geometry

The interplay of materiality and geometry generates a field that does not seek flexibility or multifunctional use but rather cultivates the qualities through which human relationships emerge. Natural wood, sandy textures, ochre hues, and glass are not aesthetic choices per se, but vehicles for a sensory engagement with space -one that unfolds through the materials themselves.

“I believe every idea ‘carries’ its own materials.”

Nikos Ktenas, Topographies of Living: I Believe, I Research, I Consider, from the lecture “Six Lectures on Dwelling”, Athens: School of Architecture, NTUA, 2014, p. 245.

 

Dynamic geometries

Situated on a half-corner plot in eastern Paphos, this residence is designed to strike a balance between geometry, functionality, and light. Three prismatic volumes intersect horizontally and vertically, creating a dynamic composition where voids and solids define circulation and the relationship between interior and exterior.

 

Functional Organization

The ground-floor volume, aligned along the north-south axis, houses communal areas – living room, dining area, kitchen, and a utility room. Expansive glass surfaces to the south allow natural light to penetrate deeply, blurring indoor-outdoor boundaries while seamlessly connecting the space with the veranda and garden. This volume is organically linked to the covered parking area and storage room, enhancing functionality and usability.

In contrast, the elongated first-floor volume serves as a tranquil, protected retreat. Centrally positioned, it reinforces the building’s symmetry while offering privacy. This level accommodates three bedrooms, a shared bathroom, a laundry room, and an office space.

Custom Structures

A sculptural curved metal staircase connects the two levels, introducing an organic element that contrasts with the strict geometry of the volumes, visually lightening the space. Light and shadow play a crucial role in the composition, constantly transforming the atmosphere. Geometric elements cast dynamic shadows, while glass reflections create an ongoing dialogue between interior and exterior spaces.

 

 

Material Palette

The residence embodies a contemporary interpretation of Mediterranean architecture, utilizing regional materials in a refined manner. Kavala stone, solid wood, white plastered surfaces, and glass form a palette that harmonizes with the natural surroundings. Ultimately, the house becomes a canvas that redefines everyday living, evolving with its inhabitants to offer continuity, tranquility, and timelessness.

 

Circular movement

The 400m² space is situated in an Athenian apartment building along a central pedestrian street. Its previous use was as office spaces, but the design and layout were not aligned with the character or functional needs of the law firm.

 

Spatial Organization

The layout is based on a single-storey apartment, with the main vertical circulation (staircase and lift) centrally located. At the rear, there is a secondary connection to the apartment building’s arcade. The new design accommodates at least 32 employees, distributed across group or private offices based on the needs of the work teams. A key design feature is the creation of a circular circulation path at the center of the floor plan, which separates support areas from the primary office spaces.

In section A of the floor plan, the previous curved walls and large reception area have been removed to allow for maximum natural light throughout the space. The reception area is now integrated into the central circulation layout as a sculptural element with curves, while also serving as a waiting area through carefully designed furniture and special structures. Along this side, the offices for the teams and their managers are arranged in a linear fashion, with an open space designated for the trainees at the core of the layout.

 

 

Custom Constructions

The new office divisions are primarily achieved through glass partitions, maximizing natural light while also fostering a sense of teamwork. In section B of the floor plan, more private offices are located, designed for greater isolation. A parallel internal corridor connects these offices, further separating them from section A. The spaces in between are efficiently utilized with custom-built libraries, both hidden and visible storage, printer rooms, lockers, and cloakrooms. At the junction of the two sections, a main office library with a reading area is created. On the opposite side, in section C, two hybrid meeting booth/rooms are designed to accommodate both team and client meetings, whether through calls or face-to-face discussions.

 

 

Materials & Lighting

The use of glass and custom constructions is designed to optimize the functionality of the space while ensuring aesthetic cohesion. At the end of this section, a dining area for employees is created. An elongated bench with built-in storage extends along one side, while a large central table dominates the space, encouraging interaction. Section D serves as the purely utilitarian zone, housing the kitchen, storage areas, bathrooms, and electromechanical spaces. The overall color palette consists of white and neutral tones, light woods, and black accents. Minimal, linear lighting elements are strategically used to accentuate the central circulation path.